Golden heart. The story of a golden heart A holistic analysis of the work of Vitaly Bianka a golden heart
Content:
Introduction
- Biography of V.V. Bianchi.
Creativity V.V. Bianchi for children.
Bibliography
Introduction
Nature is full of extraordinary wonders. It never repeats, so children should be taught to seek and find something new in what is already known, seen, and the works of V. Bianchi help us in this.
Literature contributes to the mental development of children, their logical thinking and speech.
Fiction and observations serve as a powerful tool in the environmental education of children and contribute to the formation of the first concepts of the unity of man and nature, help develop creative imagination, fantasy, flight of thought and provide an opportunity to reveal the huge potential inherent in each person, educate a person.
For 35 years creative work V.V. Bianchi created more than 300 stories, fairy tales, novellas, essays and articles. All his life he kept diaries and naturalistic notes, answered many letters from readers. His works were published with a total circulation of more than 40 million copies, translated into many languages of the world. Shortly before his death, Bianchi wrote in the preface to one of his books: "I always tried to write my fairy tales and stories so that they were accessible to adults. And now I realized that I have been writing all my life for adults who have kept a child in their souls."
- Biography of V.V. Bianchi.
My father worked at the Zoological Museum of the Russian Academy of Sciences. The apartment of the curator of the collections was directly opposite the museum, and the children - three sons - often visited its halls. There, behind the glass showcases, animals brought from all over the globe froze. How I wanted to find a magic word that would “revive” museum animals. The real ones were at home: a small zoo was located in the keeper's apartment.
In the summer, the Bianchi family left for the village of Lebyazhye. Here Vitya went on a real forest journey for the first time. He was then five or six years old. Since then, the forest has become for him magical land, paradise.
Interest in forest life made him a passionate hunter. No wonder he was given his first gun at the age of 13. He also loved poetry. At one time he was fond of football, even entered the gymnasium team.
Interests were different, education was the same. At first - a gymnasium, then - the faculty of natural sciences at the university, later - classes at the Institute of Art History. And Bianchi considered his father to be his main forest teacher. It was he who taught his son to record all observations. Over the years, they have been transformed into fascinating stories and fairy tales.
Bianchi never attracted observation from the window of a cozy office. All his life he traveled a lot (although not always of his own free will). Hiking in Altai was especially memorable. Bianki then, in the early 20s, lived in Biysk, where he taught biology at school, worked in the local history museum.
In the fall of 1922, Bianchi and his family returned to Petrograd. In those years, in the city, at one of the libraries, there was an interesting literary circle, where writers who worked for children gathered. Chukovsky, Zhitkov, Marshak came here. Marshak once brought Vitaly Bianchi with him. Soon, his story "The Journey of the Red-Headed Sparrow" was published in the Sparrow magazine. In the same year, 1923, the first book was published (“Whose nose is better”).
Bianchi's most famous book was The Forest Newspaper. There was simply no other like it. All the most curious, the most unusual and the most ordinary that happened in nature every month and day, got into the pages of the Forest Newspaper. Here one could find an announcement of starlings “Looking for apartments” or a message about the first “coo-coo” sounded in the park, or a review of a performance that was given by great grebe birds on a quiet forest lake. There was even a criminal chronicle: trouble in the forest is not uncommon. The book "grew" out of a small magazine department. Bianchi worked on it from 1924 until the end of his life, constantly making some changes. Since 1928, it has been reprinted several times, becoming thicker, it was translated into different languages peace. The stories from the "Forest Newspaper" were heard on the radio, printed, along with other works by Bianchi, on the pages of magazines and newspapers.
Bianchi not only constantly worked on new books himself (he is the author of more than three hundred works), he managed to gather around him wonderful people who loved and knew animals and birds. He called them "translators from the wordless." These were N. Sladkov, S. Sakharnov, E. Shim. Bianchi helped them work on the books. Together they hosted one of the most interesting radio programs, News from the Forest.
For thirty-five years Bianchi wrote about the forest. This word often sounded in the titles of his books: "Forest houses", "Forest scouts". Tale, short stories, fairy tales of Bianchi uniquely combined poetry and exact knowledge. He even called the latter in a special way: fairy tales, non-tales. They don't have magic wands or walking boots, but there are no less miracles. Bianchi could tell about the most unsightly sparrow in such a way that we are only surprised: it turns out that he is not at all simple. The writer managed to find magic words who "disenchanted" the mysterious forest world.
2. Creativity V.V. Bianchi for children.
V.V. Bianchi, entering children's literature in 1924 as the author of the Sparrow magazine, created many works about nature for young readers. Their heroes are animals, birds, plants. In 1923, his first fairy tale, The Journey of the Red-Headed Sparrow, appeared in the Sparrow magazine. In the next two years, his books “The First Hunt”, “Whose Legs Are These?”, “Who Sings What?”, “Whose Nose Is Better?” were published. In total, V. Bianchi owns more than 250 works. The writer created informative picture books, natural history tales, stories, essays, hunting stories, he invented and put into literary life the famous "Forest Newspaper".
In his books we can find funny fairy tales and fairy tales full of drama, stories about animals with a skillfully constructed plot and stories with almost no plot at all, full of poetry and lyrical reflection. Humor, simplicity and naturalness of speech, juiciness of language, swiftness of action are intertwined in his fairy tales. But these are not just fairy tales. These tales teach not only to observe nature, but also to enjoy its beauty, to protect its wealth.
The subjects of V. Bianchi's books are diverse. The writer's fairy tales, short stories, stories contain extensive biological knowledge. The works of Bianchi give the reader the right ideas about nature, bring up a careful attitude towards it.
All Bianchi's tales are informative, in them we get acquainted with the important laws of the life of nature. Even within the framework of one genre, the writer creates works that are very diverse, from a short fairy tale-dialogue (“The Fox and the Mouse”) to a detailed fairy tale (“Mouse Peak”, “Orange Neck”).
In Bianchi's stories about nature, there is less fiction, play than in fairy tales, and the role of man in them is different - he is a hunter, observer, naturalist. Everything that happens in stories can happen in reality. The environment turns out to be as interesting as in a fairy tale, if only you know how to observe it properly. Reading the stories of the writer, the young reader learns to see, to observe. Very carefully, Bianchi introduces a description of nature into his stories, because. this does not appeal to all children.
For young readers, Bianchi wrote short anecdotal stories, all of which are based on some curious or instructive adventure (“Musician”, “music box”).
Along with individual fairy tales, the writer also creates cycles of stories. In the cycle "My cunning son" a boy hero appears. On walks with his father, he comprehends the secrets of the forest. He manages to peep how a frightened fox to death starts running away from a desperate squirrel, who jumped almost into her mouth.
The writer's stories for older children, included in the collection "Unexpected Encounters", have a harmonious composition, poetic beginning and ending. They are also combined into cycles: “Thoughtful stories”, “Stories about silence”, etc. Simple in plot, the stories make the reader think about what happened.
V. Bianchi knows how to arouse the reader's interest in nature to get to know animals and birds. To interest the little reader, the writer often names his works in the form of a question: “Whose nose is better?”. The writer attracts the child to independently solve questions and riddles, teaches to observe nature and reveal its secrets. The writer creates his works on exact scientific facts, all his characters have specific features.
Therefore, V. Bianchi's books about nature are an encyclopedia of biological knowledge for children of primary school age. This is an encyclopedia created by a scientist and writer who clearly understands the needs of his little reader.
Almost all of Bianchi's tales are scientific, they take the reader into the world of wildlife and show this world as the author himself sees it. All fairy tales are informative, in them we get acquainted with the important laws of the life of nature. In each work of the writer, a deep love for nature, for the animal world, for people is felt. His works teach not only to observe nature, but also to enjoy its beauty, to protect it. In Bianchi's tales, the presence of the author is not felt; in them, animals act and reason like people.
Researcher of creativity V. Bianchi Gr. Grodensky rightly writes: “And even though most of the heroes of the works of Vitaly Bianchi are just forest animals and birds, they awaken great human feelings in a child: courage, stamina, kindness to the weak, striving to achieve a goal. Here the justice of the triumph of reason and the victory of good over evil are affirmed; humanism and patriotism are instilled. A poetic vision of the world is revealed.
Books by V. Bianchi teach children the scientific vision of nature. His works help the teacher in an entertaining way to reveal to the children the complex phenomena of nature, to show the patterns that exist in the natural world. Thus, the fairy tale “The First Hunt” by V. Bianchi introduces young children to such a complex phenomenon in nature as mimicry, shows various forms of animal protection: some deftly deceive, others hide, others scare, etc. The tales of V. Bianchi “Whose are these legs?”, “Who sings with what?”, “Whose nose is better?”, “Tails”. They allow revealing the conditionality of the structure of one or another organ of an animal by its habitat, living conditions. The teacher also uses the works of V. Bianchi to show the child that the natural world is in constant change and development. From the works of V. Bianchi "Forest Newspaper", "Our Birds", "Sinichkin Calendar" children learn about seasonal changes in inanimate nature, in the life of plants and various representatives of the animal world.
Books by V. Bianchi - works of natural history; they take us into the world of wildlife full of unique charm. Books are usually based on a specific biological fact, the geographical location of the action is precisely indicated, the calendar season is determined, the biological species accuracy of the beast, bird, insect, plant is preserved, that is, everything that is obligatory in natural history books.
For a conversation with children, V. Bianchi very often resorts to a fairy tale, because it is psychologically closer to the child. He created the genre of scientific fairy tale based on folklore. His fairy tales are emotional, optimistic, imbued with love for native nature(“Forest houses”, “The Adventures of the Ant”, “Mouse Peak”, etc.).
In each work of Bianchi, one feels a deep love for nature, for the animal world, for people who treat animals reasonably and kindly. This is noted in an article by the writer N. Sladkov about Bianchi: “His birds and animals are not symbols, not people dressed as birds and animals: they are real, real, true. And at the same time, they are deeply connected with a person, naturally enter the circle of his interests, excite his curiosity and excite his thoughts.
One of Bianchi's most famous works is his Forest Newspaper. "Lesnaya Gazeta" was originally born as a permanent department of natural history in the journal "Sparrow". In 1926 - 1927, Bianchi worked on the materials of this department for the publication of the book "Forest Newspaper for Every Year", and in 1928 the book was published. This big Book- encyclopedia of Russian nature. Released for the first time in 1928, it remains to this day one of the most beloved and popular works Soviet children's literature for children.
The success of this book is largely determined by the author's invention: the material in it is selected and arranged as in a real newspaper, with articles and essays, short notes, telegrams from the field, letters from readers, amusing drawings, riddles at the end of the issue. The basis of the newspaper is a recurring cycle of seasonal changes in nature. Therefore, the names of the months in its twelve numbers are unusual: “Month of Chicks”, “Month of Flocks”, “Month Full pantries" etc.
"Forest Newspaper" is a book-game. The reader does not remain passive. The author draws him into observations all the time. The book was conceived and implemented as a whole, it contains
This book, like all the works of V. V. Bianchi, contributes to the formation of a materialistic worldview in the young reader. “In all his works, in every page, in every word, there is such a love for his land, such an inseparable connection with it, such a purity of moral attitude that it is impossible not to be infected by them.”
Translated into many languages, Lesnaya Gazeta is included in the golden fund of world children's literature. In essence, it includes all the work of Vitaly Bianchi.
The works of Bianchi are excellent material for reading, educating and developing children, especially today, when humanity is on the verge of an ecological disaster.
With all his creative activity, the writer sought to reveal to the young reader the richness and diversity of his native nature, to instill love for it. In the article “Upbringing with Joy,” he wrote: “But in order to teach children kindred attention to everything that lives with us on earth, you only need one thing: to passionately love your native land. Having conveyed this love to children, the educator will endow them with all the endless joys that the knowledge of the native land brings to a person, the disclosure of small, and then big secrets of nature.
Conclusion
IN Soviet Russia In the post-revolutionary period, the formation of politically and class-biased children's literature began almost immediately, which was supposed to open the way for children "to a clear understanding of the great things that are happening on earth", which called for the release of children from the pernicious yoke of the old book. The leadership of the country takes a tough position in creating class and politically oriented children's literature, which is reflected in the decisions of the party and government. So, in fact, in the party documents the task of forming a "new man" is clearly set.
In the very first post-revolutionary decade, writers appear who work in children's literature. V.V. Bianchi and many others are engaged in the creation of works for children. Functional orientation, propaganda certainty, the requirement to attract party, trade union and Soviet organizations to create children's literature to help the Komsomol existed even when Soviet children's literature as a mass phenomenon was just emerging.
Thus, after 1917, children's literature began to have a purposeful ideological character. Children's writers were tasked with creating a new type of children's book. The children's book became one of the main tools with which the Soviet government solved the problem of creating a "new man". During this period, the publication and content of a children's book was shaped by those who led the country and determined its future.
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In the grove grew nearby a young Rowan, an elderly Birch and an old Oak. When the breeze came, they rustled the leaves. So they talked to each other. Old Oak also knew how to creak the trunk in different ways. When the wind was strong, the voice of the Oak was heard throughout the grove. But all the same, Zoechka and her old aunt did not understand the rustle or the creak of the trees.
The first time Zoechka and her aunt came to the grove when the strawberries were ripe. They took the berries, but did not pay any attention to the trees.
A gray thin bird flew in, sat on a branch of a young Rowan and began to cuckoo:
- Ku-ku! Ku-ku! Ku-ku!
Aunt said:
- Do you hear, Zoechka, - cuckoo! When I was little, we sang a pretty song about her.
And the aunt sang in a thin pitiful voice:
There, far away across the river It is sometimes heard: Ku-ku! Ku-ku! This bird is screaming At the green willows: Ku-ku! Ku-ku! She lost her children, - It's a pity for her poor ones. Ku-ku! Ku-ku! Ku-ku-u!..
Here her aunt's voice trembled and trembled, and Zoya burst into tears.
Aunt patted Zoechka on the head and said:
- You have a golden heart: it pities everyone!
- Listen! Listen! After all, this is a terribly stupid song! The cuckoo doesn't lose her babies at all. She deliberately throws them into other people's nests. Please don't feel sorry for Cuckoo. Have pity on other birds.
But Zoechka and her aunt did not listen to the rustling of the leaves.
And the gray thin bird kept cuckooing, so plaintively:
- Ku-ku! Ku-ku!
A thin brown bird flew in, sat on a branch of an elderly Birch and giggled piercingly:
- Hee-hee-hee-hee-hee!
Here Zoechka burst into tears even more:
- Why is this ugly bird laughing at the poor Cuckoo!
Aunt again stroked Zoechka on the head and said:
- And here we are now! ..
She picked up a branch, waved it at a thin brown bird:
- Kush! Shh! - And drove her away.
Then the elderly Birch rustled with all her leaves, similar to hearts:
- Listen, listen! After all, this is a terribly stupid misunderstanding. You yourself feel sorry for the Cuckoo and you yourself drove it away! The cuckoo-father shouts: cuckoo! coo-coo! And the Cuckoo-mother shouts: hee-hee-hee-hee!
Brown - this is the Cuckoo-mother. You sing a song yourself and you don’t know about whom.
Young Rowan whispered almost audibly:
- Absolutely fair, absolutely fair.
But the old Oak was silent: he had lived in the world for three hundred years, and he was no longer interested in tearful songs.
Another time, Zoechka and her aunt came to the grove when the raspberries were ripe.
They came to the old Oak. Suddenly, a red-breasted bird fluttered out of its roots. Zoechka bent down and saw a nest between the roots. There were six chicks in it. Five were in a warm cannon, and the sixth was still completely naked.
Zoya immediately burst into tears:
- Why is he naked, he's cold! ..
And the aunt again stroked Zoechka on the head and said:
- Golden heart!
Then the young Rowan rustled with all her split leaves:
- Listen, listen! After all, this chick was born three days later than the others. He will grow up and get dressed. Those five were also naked, and even their own mother did not cry over them.
And the elderly Birch rustled with all its leaves, similar to hearts:
- Listen, listen! After all, it's a Cuckoo! It is not necessary to feel sorry for him, but for other chicks.
But Zoechka and her aunt paid no attention to the rustling of the leaves. …..
And the old Oak was silent.
And for the third time, Zoechka and her aunt came to the grove when the autumn wind plucked their leaves from the trees.
Zoechka looked under the roots of the old Oak and wept.
There was one Little Cuckoo sitting there. He grew so big that he covered the whole nest.
A red-breasted bird flew in, and Cuckoo immediately opened his mouth and screamed.
The little cuckoo was so big, and the red-breasted bird was so small. She had to sit on his head to feed him the butterfly she had brought. And the head of the red-breasted bird at the same time completely disappeared in the gaping mouth of the Cuckoo.
Aunt asked Zoechka:
Why are you crying, my heart?
And Zoechka whispered, sobbing:
- Yes ... All the chicks have long since left the nest. And this poor thing - henna! henna! Wants to eat all the time!
Then the young Rowan whispered with all her remaining split leaves:
- Look, look! After all, it's a Cuckoo!
When he was still naked, he threw all the children of Krasnogrudok out of the nest. They were weak, in the cannon and perished one by one in the grass.
The cuckoo killed them. Have pity on the chicks of Krasnogrudok!
And the elderly Birch whispered with all her remaining leaves, similar to hearts:
- Look, look! He has grown much larger than his nurse, Krasnobrudka, and still asks her for food. He is lazy and a glutton. He cannot be pitied!
But Zoechka burst into tears even more and whimpered:
- All other birds - henna! henna! - fly away over the sea to warmer climes. But this one will remain. It will snow. And - henna! henna! - the poor bird will freeze.
Aunt said:
- I can't see how your golden heart is torn. You know what, let's take this bird home. You yourself will feed her a bun until the warm days come again.
And Zoechka whispered through her tears:
And I will sing a song to her.
Here even the old Oak could not stand it and creaked:
- Skry! .. Skru! .. Poskru! .. Listen! After all, this is terribly sad ... no, a stupid story! Drop the Cuckoo! Red-breasted, away, - he will correct himself. There are wings, what a twist? And the roll - to the rats! Listen! Hidden!..
Zoechka and her aunt stopped up their ears from the terrible creaking of the old Oak, picked up Little Cuckoo, and hastily left the grove.
At home, Zoechka put Little Cuckoo at the doll's table and until then fed him a sweet bun, until Little Cuckoo stopped asking for food.
Then Zoechka put him into the doll's bed, covered him with the doll's blanket, and sang in a thin pitiful voice:
There, far away across the river It is sometimes heard: Ku-ku! Ku-ku!
The little cuckoo immediately closed his eyes.
Zoechka next:
This bird is screaming At the green willows: Ku-ku! Ku-ku!
The cuckoo rolled over onto its back.
Zoechka quietly finished the song:
She lost her children, It's a pity for her poor ones. Ku-ku! Ku-ku!
The cuckoo jerked its legs and died.
The wind was so strong that the old linden swayed like a blade of grass and creaked loudly. It seemed that it was about to crack from the root to the very top.
By morning the storm had subsided. The little cuckoo was still sitting, pressed against the wall. He still could not come to his senses from fear.
When the sun rose high, its rays slipped into the hollow and warmed the wet Little Cuckoo.
In the afternoon, a Boy and a Girl came to the grove.
The wind lifted yellow leaves from the ground and twisted them in the air. Children ran and caught them. Then they started playing hide and seek. The boy hid behind the trunk of an old lime tree.
Suddenly he thought he heard a bird cry from the depths of the tree.
The boy raised his head, saw the hollow, and climbed up the tree.
Here! he called to his sister. - There is a cuckoo sitting in the hollow.
The girl came running and asked her brother to get her a bird.
I can't put my hand in the hollow! - said the Boy. - The hole is too small.
Then I will scare the cuckoo, - said the Girl, - and you catch it when it climbs out of the hollow.
The girl began to beat with a stick on the trunk.
A deafening roar rose up in the hollow. The little cuckoo gathered the last of its strength, rested its legs and wings against the walls and began to break out of the hollow.
But no matter how hard he tried, he could not squeeze through.
Look! cried the Girl. - The cuckoo can't get out, it's too fat.
Wait, - said the Boy, - now I'll pull it out.
He took a penknife out of his pocket and widened the entrance to the hollow with it. I had to cut a wide hole in the tree before I could get the Little Cuckoo out of it. He had long grown from a large cuckoo and was three times thicker than his foster mother - Pestrushka.
But from sitting in the hollow for a long time, he was very clumsy and could not fly.
We will take him with us, - the children decided, - and we will feed him.
* * *
Birds flew south past the empty linden tree. Among them was the Cuckoo.
She saw the hollow where she had dropped her egg in the spring, and again she thought:
“How smart I am! How well I arranged my chick! Where is he now? That's right, I'll meet him in the south."
golden heart
In the grove grew nearby a young Rowan, an elderly Birch and an old Oak. When the breeze came, they rustled the leaves. So they talked to each other. Old Oak also knew how to creak the trunk in different ways. When the wind was strong, the voice of the Oak was heard throughout the grove. But all the same, Zoechka and her old aunt did not understand the rustle or the creak of the trees.
The first time Zoechka and her aunt came to the grove when the strawberries were ripe. They took the berries, but did not pay any attention to the trees.
A gray thin bird flew in, sat on a branch of a young Rowan and began to cuckoo:
Ku-ku! Ku-ku! Ku-ku!
Aunt said:
Do you hear, Zoechka, - cuckoo! When I was little, we sang a pretty song about her.
- Far beyond the river
- Occasionally distributed:
- Ku-ku! Ku-ku!
- This bird is screaming
- For green willows:
- Ku-ku! Ku-ku!
- Lost children -
- Pity her poor ones.
- Ku-ku! Ku-ku!
- Ku-ku-u!..
Aunt patted Zoechka on the head and said:
You have a golden heart: it pities everyone!
Then the young Rowan rustled with all her split leaves:
Listen! Listen! After all, this is a terribly stupid song! The cuckoo doesn't lose her babies at all. She deliberately throws them into other people's nests. Please don't feel sorry for Cuckoo. Have pity on other birds.
But Zoechka and her aunt did not listen to the rustling of the leaves.
And the gray thin bird kept cuckooing, so plaintively:
Ku-ku! Ku-ku!
A thin brown bird flew in, sat on a branch of an elderly Birch and giggled piercingly:
Hee hee hee hee hee!
Here Zoechka burst into tears even more:
Why is this ugly bird laughing at the poor Cuckoo!
Aunt again stroked Zoechka on the head and said:
And here we are now!..
She picked up a branch, waved it at a thin brown bird:
Shh! Shh! - And drove her away.
Then the elderly Birch rustled with all its leaves, similar to hearts.
I. V. Inozemtsev
Loyalty to one forever chosen theme - the theme of nature - was led by Vitaly Valentinovich Bianki, original artist, teacher, naturalist, in a peculiar way. He had the rare gift of understanding a child's soul. Turning to children, the writer himself was able to observe life as if through their eyes. He knew and saw a lot, but only the most significant sought to convey to readers.
Among his works are funny tales and stories full of drama, stories about animals with a skillfully constructed plot and stories with almost no plot at all, full of poetry and lyrical reflection. He also created the "Forest Newspaper" - a book of encyclopedic breadth, designed for the reader to return to it more than once, gradually mastering its scientific and artistic content.
The writer learned a lot from the people, from the folk tale - from here good humor, simplicity and naturalness of speech, swiftness of action came into his work. But Blanca's fairy tales are not just fairy tales, but “non-tale fairy tales”, they contain a deep generalization based on scientific knowledge. Therefore, their educational impact is so great: they teach to see the extraordinary in nature, to enjoy beauty, to protect the living wealth of the world that people need.
Bianchi's stories and novels are the next step after fairy tales in the knowledge of the world by young readers. In fairy tales, we almost do not feel the presence of the author. But in many stories, the author is somewhere near us, it is not easy to separate him from the hero.
In fairy tales, animals reason and act like people. After all, otherwise the fairy tale would not be a fairy tale (although Bianchi's truth is always very easy to distinguish from fiction). In the stories, the image of nature is freed from conventionality, the world in it is real, concrete. The writer truthfully depicts the relationship between nature and people, stigmatizes the criminal, the poacher who killed beautiful swan(“Oh Aulei, Aulei, Aulei”), laughs at a stupid girl who pities the cuckoo who killed the chicks of another bird. And he doesn’t know how to save even that - he feeds the cuckoo to death (“Golden Heart”).
A biologist by vocation and education, the son of a famous ornithologist, Bianchi began his work in literature in the 1920s, when he was about 30 years old. In the early stories ("Odinets", "Askyr", "Murzuk") the images of animals - elk, sable, lynx - are romanticized, the writer evokes in us sympathy for the persecuted, persecuted beast.
A strong, invincible elk, skillfully hiding its refuge in impenetrable swamps from human eyes, is a deeply memorable image. The story about Odinets is full of tragic collisions, but perhaps the deepest impression in the soul of the reader is left by the act of a stubborn hunter - a student who, at a fateful moment, lowered his gun in order not to shoot at an elk, in his head "with horns gilded by the sun."
The action of these stories dates back to pre-revolutionary times, and Bianchi convincingly shows that the persistence in the pursuit of the beast for the taiga hunter was often associated with necessity, with evil need. It is she who pushes Stepan ("Askyr") to a cruel hunt for the "black" sable. The handsome sable perishes in this unrelenting pursuit, but people who destroy each other in their unquenchable thirst for profit also perish in the taiga.
In the story "Murzuk" a fundamentally different solution is given. The wild cat-lynx is inseparable from the forest watchman Andreich, who brought up Murzuk as a lynx. Man and beast in this case characterizes fidelity to friendship, which makes both the old watchman and the brave predator Murzuk overcome all obstacles, created by people to find each other despite these obstacles.
Bianchi the master literary fairy tale. Almost all of his fairy tales are scientific, they introduce the child reader into the world of wildlife and show this world as a biologist, a materialist, sees it. Learning the skill of a folk tale, the writer began by creating, as it were, new versions of it. Such, for example, are his "Teremok" or "Forest Gingerbread Man - Prickly Side". The inhabitants of the tower are animals or birds in their natural habitat, and the gingerbread man is a hedgehog that runs to escape the fox. Bianchi's prose is often rhythmic, with internal rhymes. The language of fairy tales is also popular: the reader learns many new words or new meanings of words already known to him, accurate, figurative and applicable where they are absolutely necessary. “And I’m away from you - and I was like that,” says the Mouse to the Fox. “I need to turn right - I turn my tail to the right,” says Ryba. - It is necessary to the left - I put my tail to the left ”(“ Tails ”). Bianchi's clover is "stern", the Spider - "strikes the ground with its belly", Komarishche - "burn (bite) the master".
In undeniable connection with folk tradition there is also the transparent morality of Bianchi's tales. Thus, idle curiosity is always punished, and at the same time, through the very act of punishment, some new line is revealed in the relationship between the overly curious "hero" and his environment. It takes a very long time for a flycatcher to choose a suitable nose for itself, but it all ends with a hawk falling on top of the flycatcher and taking it away for dinner. In the funny and sly fairy tale “Tails”, a fly bothers both humans, animals, and birds, begging for a tail. In conclusion, the cow slaps the fly with her tail and thereby saves everyone from the unbearable loafer. A boastful and importunate mosquito ("Rosyanka - Mosquito Death") dies, caught by a predator plant.
In the fairy tale "The First Hunt" a puppy is depicted who went hunting for the first time. All birds and insects deceive the silly and easily hide from him. The adventures of an unfortunate hunter introduce the reader to the natural ability of living beings to blend into the background or imitate the color and shape of other animals and plants. Bittern in the reeds - "all painted in yellow and brown stripes." Hoopoe - "a motley rag lies on the ground, and a crooked needle sticks out of it." Bird-turner - "in a black hollow black snake wriggles and hisses terribly." An artist in everything, Bianchi seeks in any living creature what is related to man, educates children in sympathetic attention to the living.
The puppy is funny, it causes a smile and even compassion for the weak. In general, everything small, fragile, but leading a serious struggle for life, enjoys the sympathy of the author, and this also makes his fairy tales related to folk tales. The lost Ant hurries home. His concern is justified, and everyone helps the Ant: the ground beetle, the spider, the water meter bug, and the land surveyor caterpillar. Along the way, the reader is visually acquainted with the methods of locomotion in various insects. Here, for example, is a portrait of a beetle taking off: “The wings of the Beetle are like two inverted troughs, and from under them other wings climb, unfold: thin, transparent, wider and longer than the top ones.” The shore swallow (“Forest houses”) is looking for a nest, and together with it we travel from one house to another, observing amusing customs in building nests among various forest, meadow and water inhabitants. Learning from a fairy tale, the writer, however, does not limit himself to just imitation of it, but goes out on an independent path. So, creating a portrait, Bianchi sometimes uses unusual angles; this is absolutely necessary in order to make us take a fresh look at familiar things and see in them what we did not notice before. The lark, who can see everything well from above, does not recognize anyone when he looks at familiar earthly inhabitants from below ("Whose feet are these?"). This is a fairy tale-mystery in which everything is amazing: the paws of a mole (“short, furry: blunt claws on the fingers”), and the legs of a squirrel, similar to hands running along the ground, and paws bat connected by skin to the tail.
Even within the same genre, the writer creates very diverse works: from a short fairy tale-dialogue ("The Fox and the Mouse") to a detailed fairy tale ("Mouse Peak", "Orange Neck"). The story of a field mouse, which the guys let swim in a toy boat, grows into a whole dramatic narrative, “Robinsonade”. Little Peak, at the beginning of the story, a tiny suckling mouse, getting on the island, learns to get food for himself, escape from enemies, build himself a house. Peak's Adventures introduces young readers to various inhabitants of the forest and fields: the shaking falcon, the long-eared owl, the shrike robber.
In Bianchi's stories there is less fiction, play than in fairy tales, and the role of a person in them is different: he is a hunter, an observer, a naturalist. The images of animals themselves become more concrete and deeper: everything that happens in stories can happen in reality; and it turns out to be as interesting as a fairy tale, if you only know how to observe. Reading stories, the child goes through the next stage of the school of the young naturalist - he learns to see. The observations underlying them are sometimes very subtle and significant. Here the landscape appears, although the writer introduces it very carefully, knowing that descriptions of nature do not attract all children. The landscape helps to visualize the situation more vividly, state of mind, the mood of the characters. The writer tries to use concepts that are familiar to the child.
“Behind the forest, a bright and low winter dawn burns. The trees seem to be charred on it. Their trunks are like black stripes pasted on shiny yellow paper.
Here even the comparison is taken from reality familiar to children.
In the story "Mad Squirrel", the forest after the rain is a cheerful, soul-pleasing sight:
“The whole forest sparkled, shimmered with multi-colored cheerful stars, every leaf, every blade of grass and larva shone, smiled with dripping eyes - the sun was just rising above the trees and did not have time to dry yesterday's rain. All the bushes and fir trees were cobwebs, and each cobweb was studded with tiny water pearls.
For the youngest readers, Bianchi poured short anecdotes, the entire content of which is built on some curious or instructive adventure. The bear hunter did not kill the beast, seeing how attentively Mishka listens to the sound of a forest string - chips on a tree split by a thunderstorm (“Musician”), Sensitive songbird the howling and crackling of the terrible music that the guys made while dabbling at home on a rainy day could not stand it (“Musical Canary”). The woodcock feather served as the best brush for the artist when he wanted to draw these same feathers (“Feather”). Useless from a hunting point of view, "grebes" turned out to be beautiful and entertaining diving waterfowl ("Toadstools").
Sometimes several stories are connected in a chain - there are cycles. In the cycle "My cunning son" an independent young hero appears. Leaving for the forest with his father, he comprehends forest secrets one by one: how to track down a hare, catch a black grouse hiding in a snowy hole; he manages to peep how a frightened fox to death starts running away from a desperate squirrel, who jumped almost into her mouth. Adventures of another young hero(“Following the Footsteps”) nearly end tragically: the forester's son Yegorka spends the night on a tree, fleeing from a pack of wolves that besieged him. Together with the boy's father, we follow in his footsteps and, like in a book, we read where Yegorka frightened someone, shot someone, we rejoice at his salvation. The drama of the plot helps to capture the features of a rich and vibrant forest life more strongly in memory.
Stories for older people, included in the collection "Unexpected Encounters", are distinguished by their harmonious composition, poetic beginning and ending, and also form cycles ("Thoughtful Stories", "Stories about Silence", etc.). Along with the child characters (schoolchildren, young naturalists), adults play an active role (the author directly indicates the profession of the narrator: an accountant, a steamship mechanic, a teacher). The action takes place either “on the gentle lake Sarykul”, then in the Kuban, then in Western Siberia, then in the east, in Khakassia.
Simple in plot, the stories make the reader think. Sometimes they contain a mystery that has not been fully solved. Why does a wolf pursued by a car not think of turning off the road and hiding from the piercing headlights? .. And if the writer explains some small miracle, for example, the secret of the inaudible bird, which was seen at the beginning of summer by a little girl on top of an alder - the bird is still perceived by the reader as a beautiful forest secret: "She opened her beak, and the feathers on her swollen neck fluttered, but the song was not heard."
In an article written for adults, “Education with Joy,” Bianchi found the very words that we need so much today - words about fostering a friendly family feeling for all living things: “No toy will bind the whole heart of a child to itself, as living pets do. In any ward bird, even in a plant, the child will first of all feel a friend.
Bianchi was the creator of the Forest Newspaper. This is a large book, an encyclopedia of Russian nature - the result of the tireless work of the writer, who worked on it for thirty years. From edition to edition, the book improved, its geography expanded, new material, reflecting the life of the collective farm village, the discoveries and findings of scientists. Published for the first time as a book in 1928, "Forest Newspaper" only during the life of the author withstood seven editions and to this day is one of the most beloved and popular works. Soviet literature for children.
The success of this book largely depended on the fresh, witty invention of the author: the material in it was selected and arranged as in a real newspaper, with articles and essays, short notes, telegrams from places, letters from readers, amusing drawings, riddles at the end of the issue. This newspaper is special: it does not become outdated, because it is based on a recurring cycle of seasonal changes.
Looking through the "Forest Newspaper", we begin to notice how seasonal changes are also reflected in human activities. This is reported, for example, by the “Kolkhoz calendar” and the constantly present section “Hunting”. It is curious to know that cows sometimes need to do a special, "cow" manicure; for fish, you have to arrange your own, fish canteens, in which it is sometimes very “multi-fish”, and in a collective farm poultry house, turn on electric lamps, to the great joy of chickens.
"Forest Newspaper" is a game book: the reader should not remain passive, the author always draws him into observations, into practical affairs. The book is, as it were, the third stage of the young naturalists' school. It has a lot useful tips for reading footprints, gardening, hunting, fishing, observing the weather. It is scattered various information about the search conducted by science. But these Interesting Facts and practical tasks are constantly intertwined with ingenious invention, puzzle, funny story, an amusing competition for memory and ingenuity (“Tyr”, “Easy Eyes”).
The artist of the word, Bianchi, remains himself here too. "Forest Newspaper" often echoes his other books - sometimes already written, sometimes just begun. They go from room to room in the "Forest Newspaper" short stories, poetic sketches, observations and reflections of a hunter and nature lover. The book was conceived and implemented as a single whole, it also includes "through" characters, passing from one issue to another: a cheerful, quick-witted young Nat Kit Velikanov, an experienced hunter Sysy Sysoich.
Having started the book as a collection of news from the Leningrad suburbs, the writer gradually enriched it with "all-Union" topics, saturated with information from Siberia and Altai, from Central Asia and polar tundra. "Forest Newspaper" - absolutely new type children's book about the world of animals and plants, in which the writer shows the way to his followers and students.
The picture reflected in the works of Vitaly Bianchi is broad. This picture, as noted earlier, was created by the pen not only of a poet, but also of a scientist, a keen observer. How older age reader, the deeper these observations. Stories and fairy tales from the life of nature were created even before Bianchi, but the freshness and modernity of his works, their innovative significance largely comes from the author’s ability to think scientifically and select material for his books, imperceptibly, but consistently educating young readers in a materialistic view of nature and understanding its laws. The sober look of the scientist was combined in his books with the brightness of the artistic comprehension of the world.
The work of Vitaly Bianchi is a significant stage in the development of scientific and fiction literature for children. The writer developed new genres of children's literature, he lived in constant search, finding more and more new forms of a scientific fairy tale, a story about nature, an artistic book-encyclopedia. Even in the details of his stories and essays miraculously the unity of the theme and visual means always subordinate to a precisely set, consciously chosen didactic task by the writer.
Concentrating on an extremely small space a wealth of information and collecting them into a single, rapidly developing event - this was often the skill of the writer. Only two pages are occupied by the story “In the Village”, but it gives a vivid comparison of the characters of the hunter-hunt, “ forest man”, restrained in his actions, and his too quick on the decisions of a city friend.
And in the fairy tale about why the magpie has a long tail, why the plover always bows and why the seagulls are white, a very complex relationship between birds and birds is revealed. natural environment and ridiculed the naive idea of "a bird in general", a bird without a shape and a name.
Peak the Mouse in the well-known fairy tale is funny and cute, but along the way we learn that he is a dangerous crop pest. Behind the seeming simplicity of the story is a strict selection, a thorough analysis of the information obtained by practice and scientific natural science.
Concise, concise, full of facts to the limit, Bianchi's books are deeply modern, they speak of important, significant things, they teach to take care of the living treasures of the Motherland.
The works of a wonderful animalist are at the very source educational literature. His findings and observations subsequently migrated to the pages of children's periodicals. They help organize a lively and entertaining conversation with children. "Lesnaya Gazeta" continues to live today, enriched with new facts in the journal "Young Naturalist", where under such popular title there is a special section in each room.
Bianchi knew how to seek out people committed to nature. To a certain extent, Lesnaya Gazeta was created collectively: its correspondents were Nina Pavlova, Nikolai Sladkov, who subsequently wrote a lot of good books. Among the students of the master are such writers as E. Shim, S. Sakharnov. In the direction outlined by Bianchi, the work of the naturalist writer G. Skrebitsky also developed, Bianchi's advice was in many ways useful to the entomologist and writer P. Marikovsky.
Setting an example to his comrades in the pen, educating the young, Vitaly Valentinovich Bianchi took care of further development Soviet scientific and fiction literature for children, in the creation of which he has an honorable place.
The poetry of nature became the basis of artistry in the fairy tales of Vitaly Valentinovich Bianchi. Freedom of fiction was combined in his fairy tales with the truth about the unspeakable freaky world forests, fields, rivers and lakes The fairy tale "Owl" tells how closely connected the life of birds, insects, animals and man himself. The Owl stopped flying in the field: the Old Man offended her - and many mice divorced, the bumblebees left the field, there was no one to pollinate the clover, there was no good food, and the Cow began to milk less and less. And now there is nothing for the Old Man to whiten tea.
Each bird has its own nose, well adapted for its life. And it's hard to decide whose nose is better ("Whose nose is better?").
Whatever a fairy tale new page from a multi-sheet writer's encyclopedia, which covers all the months of the year, all the subsequent changes in nature. ( This material will help to write correctly and on the topic of the Tales of Bianchi and Nagishkin. Summary does not make it clear the whole meaning of the work, so this material will be useful for a deep understanding of the work of writers and poets, as well as their novels, short stories, stories, plays, poems.) Everything in this world to the smallest detail is known to the writer. Everything is striking in its intricacy. However, true to the properties of a fairy tale as an art, Bianchi not only brings knowledge to his readers. He is always an artist. From here fun game intonations, well-aimed expressions and, in general, the whole warehouse of “scientific speech - the speech of the narrator - poet and artist. So it is said about the Owl that she is a “widow”, that “from a hollow with eyes of loops, loops, legs of stupid-tui. This word game, as in jokes, as in children's playing. The little fairy tale "The Fox and the Mouse" became more attractive from one unusual word in last phrase: "reel". The fox said that he would lie in wait for the Mouse in the hole. And the Mouse replies: there is, they say, I have a bedroom, there is also a treasure chest - you can sit it out. But the Fox does not back down - he says that he will open the mink. Then the Mouse said: “And I’m away from you, and that was it!” Everything in Bianchi's fairy tales is conducive to love for the world of wildlife - high, ennobling love, the one without which there is no real person.
Russian writers have always willingly turned to the development of themes, motifs and images of the fabulous folklore of other peoples and nationalities. In our time, the passage of fairy tales from people to people is one of the powerful and fruitful sources of mutual enrichment of the cultures of the fraternal peoples of the multinational Soviet Union. An outstanding success came to the Far East writer Dmitry Dmitrievich Nagishkin, when he decided to recreate the folklore legends and myths of the Nanai, Ulchi, Nivkhs, Orochs and other small peoples of the Amur and Primorye in fairy tales. Nagishkin found here everything that attracts genuine artistic creativity - deep vitality, romantic heroics, bold fiction and the uniqueness of such a view of the world, which combined the ancient traditions of myth and realism.
The hero of the writer's fairy tale, the brave, brave Azmun, went down to the bottom of the sea to save his people from starvation. He went down and saw: old Tayrnadz, the lord of the sea, was lying on the bunk, sleeping, he forgot about the Nivkhs - he stopped sending them fish. A young man woke up Tayrnadz: “I am Azmun, a man of the Nivkh people,” the hero called himself. “Father, help the Nivkhs - send fish to the Nivkhs. Father, the Nivkhs are dying of hunger.” This is the speech of a man who is mindful of his duty. And Tayrnadzu felt ashamed. In the interpretation of the fabulous feat, Nagishkin's manner as the author of the novel about the Komsomol hero Vitaly Bonivur ("The Heart of Bonivur") is palpable. In the story of the young man Azmun, the feat in the name of the happiness and well-being of the people is recreated in full accordance with the heroic pathos of the Nivkh legends. In the folklore of peoples Far East The writer has found something close to himself.
